2017-08-18T05:16:50Z1955-1960. Las Ferias internacionales de Muestras de Barcelona: laboratorio de arquitecturahttp://hdl.handle.net/2117/27904
1955-1960. Las Ferias internacionales de Muestras de Barcelona: laboratorio de arquitectura
Garnica González-Barcena, Julio Fidel
2015-05-12T14:14:28ZGarnica González-Barcena, Julio FidelLa gestión del ciclo del agua a través de una investigación-acción participada: el caso de las Hortes de Baixhttp://hdl.handle.net/2117/27462
La gestión del ciclo del agua a través de una investigación-acción participada: el caso de las Hortes de Baix
Albareda Fernández, Elena; Serra Permanyer, Marta
This experience aims to recover a space of historical irrigated gardens located in the metropolitan area of Barcelona, Spain. From understanding the traditional water management as cultural heritage, the project has a double goal: on the one hand, to promote sustainable urban design and, on the other hand, to boost a new community consciousness connected to the territory. Through several phases, the project solves a double environmental conflict linked to the irrigation system: on one side, the lack of enough water availability and, on the other side, the health risk due to the spill of urban polluted waters in the main irrigation canal of this space. Consequently, the main proposal is based on the gathering of thermal clean water surplus of spas and public washing places -that are not reused in the gardens presently- to provide enough quality water for the irrigation. By means of an action-research process it’s possible to recover the active ability of urban citizens as producer agents, as well as the quotidian practices related to water selfmanagement as the imaginary of place identity, that is to say, the intangible heritage of the water management as a reference model towards the sustainability.
2015-04-20T14:43:02ZAlbareda Fernández, ElenaSerra Permanyer, MartaThis experience aims to recover a space of historical irrigated gardens located in the metropolitan area of Barcelona, Spain. From understanding the traditional water management as cultural heritage, the project has a double goal: on the one hand, to promote sustainable urban design and, on the other hand, to boost a new community consciousness connected to the territory. Through several phases, the project solves a double environmental conflict linked to the irrigation system: on one side, the lack of enough water availability and, on the other side, the health risk due to the spill of urban polluted waters in the main irrigation canal of this space. Consequently, the main proposal is based on the gathering of thermal clean water surplus of spas and public washing places -that are not reused in the gardens presently- to provide enough quality water for the irrigation. By means of an action-research process it’s possible to recover the active ability of urban citizens as producer agents, as well as the quotidian practices related to water selfmanagement as the imaginary of place identity, that is to say, the intangible heritage of the water management as a reference model towards the sustainability.Los edificios industriales construidos entre 1958 y 1976 en el barrio de Poblenou de Barcelonahttp://hdl.handle.net/2117/26362
Los edificios industriales construidos entre 1958 y 1976 en el barrio de Poblenou de Barcelona
Rosselló i Nicolau, Maribel
[CASTELLÀ] La presente comunicación se centra en los edificios industriales de pisos construidos en el barrio de Poblenou de Barcelona durante los años sesenta y setenta del siglo XX (aunque en algunos casos, como veremos más adelante, la construcción de alguno de los edificios se prolonga más allá de 1980). En este período se produce una reorganización de la industria en la ciudad de Barcelona, algunas de las grandes industrias pesadas que estaban asentadas hasta entonces en la zona se trasladan a otras localidades del área metropolitana de modo que el suelo liberado por estas industrias es ocupado por unos edificios dirigidos a una industria más ligera, de carácter pequeño y mediano, y a zonas de almacenaje. Los nuevos edificios industriales, con un marcado carácter urbano, se integran perfectamente en la trama de la ciudad, dándole continuidad, incluso desde el planteamiento formal.
Encontramos estos edificios repartidos de manera puntual en una área muy amplia del Poblenou pero en una zona concreta tienen un presencia muy significativa, se trata del área del Poblenou más cercana al centro de Barcelona, la zona que el Pla especial de protecció del patrimoni arquitectònic històric artístic de la ciutat de Barcelona. Districte de Sant Martí denomina como zona Pere IV ponent.
Nuestro trabajo pretende, en primer lugar, indagar en el contexto en el que se dieron estos edificios. Recoger el planeamiento urbanístico que era vigente y las transformaciones urbanas que se dieron en la zona durante el período de manera que podamos conocer las vinculaciones de las transformaciones urbanísticas con la presencia de estos edificios.
En segundo lugar, estudiar a fondo unos edificios industriales que hasta ahora no han sido objeto de análisis sistemático, con la finalidad de averiguar las claves del momento de cambio que representan dentro de la arquitectura industrial urbana. Al mismo tiempo, que se propone indagar en los referentes arquitectónicos de los que parten. Se trata de edificios altos, normalmente de seis plantas más ático, planteados mayoritariamente a partir de una estructura de pilares de hormigón armado que permiten una fachada ligera. El modelo arquitectónico de alguno de estos edificios entronca con los primeros edificios industriales de hormigón armado construidos en Europa y EEUU a finales del XIX e inicios del XX a los que se mira desde la perspectiva de los años sesenta y setenta. Finalmente se propone, poner en valor un tipo industrial arquitectónico que se ha adaptado perfectamente a la morfología urbana y que confiere una fisonomía muy característica de una zona y un momento concreto en la evolución del patrimonio industrial barcelonés. Muchos de estos edificios siguen en activo pero la situación económica actual conlleva a la paralización de algunas de estas actividades por lo que es importante conocer y valorar el papel que juegan estos edificios para poder afrontar posibles transformaciones. [ENGLISH]This paper focuses on the multi-occupier industrial buildings constructed in the El Poblenou neighbourhood of Barcelona during the 1960s and 1970s (though the construction of some of the buildings stretched into the 1980s). In this period there was a reorganization of industry in the city of Barcelona: heavy industries that were previously located in the area moved to other locations in the metropolitan area and the land released by them was occupied by buildings for a lighter, small and medium-sized industry and for storage. The new industrial buildings were clearly urban in nature and integrated perfectly in the fabric of the city, even in terms of formal continuity.
We find these buildings scattered over a large area of El Poblenou but they are more numerous in the area closest to the centre of Barcelona. In the Special Plan for the Protection of the Historic and Artistic Heritage of the City of Barcelona, District of Sant Martí, this area is known as “Pere IV ponent”.
In our study we aim first to investigate the context in which these buildings emerged. We studied the planning regulations that were in force when these buildings were constructed, and analysed their relationship with urban transformation at the time.
Second, we study in depth some industrial buildings that have so far not been systematically analysed in order to find the keys to this turning point in urban industrial architecture. We also look into the architectural references on which they are based. The buildings are normally tall, with six floors plus an attic, and mostly have a structure of reinforced concrete columns that enables a light façade to be used. The architectural model of some of these buildings is connected with the first reinforced concrete industrial buildings in Europe and the USA dating from the late nineteenth and early twentieth centuries, which are viewed from the perspective of the 1960s and 1970s.
Finally, we highlight the value of an industrial architecture that is perfectly adapted to the urban morphology and that characterizes a specific area and a specific moment in the evolution of Barcelona’s industrial heritage. Though many of these buildings are still in use, the current economic situation has led to the closure of some businesses, so it is important to consider how these buildings can adapt to future changes.
2015-02-16T12:58:34ZRosselló i Nicolau, Maribel[CASTELLÀ] La presente comunicación se centra en los edificios industriales de pisos construidos en el barrio de Poblenou de Barcelona durante los años sesenta y setenta del siglo XX (aunque en algunos casos, como veremos más adelante, la construcción de alguno de los edificios se prolonga más allá de 1980). En este período se produce una reorganización de la industria en la ciudad de Barcelona, algunas de las grandes industrias pesadas que estaban asentadas hasta entonces en la zona se trasladan a otras localidades del área metropolitana de modo que el suelo liberado por estas industrias es ocupado por unos edificios dirigidos a una industria más ligera, de carácter pequeño y mediano, y a zonas de almacenaje. Los nuevos edificios industriales, con un marcado carácter urbano, se integran perfectamente en la trama de la ciudad, dándole continuidad, incluso desde el planteamiento formal.
Encontramos estos edificios repartidos de manera puntual en una área muy amplia del Poblenou pero en una zona concreta tienen un presencia muy significativa, se trata del área del Poblenou más cercana al centro de Barcelona, la zona que el Pla especial de protecció del patrimoni arquitectònic històric artístic de la ciutat de Barcelona. Districte de Sant Martí denomina como zona Pere IV ponent.
Nuestro trabajo pretende, en primer lugar, indagar en el contexto en el que se dieron estos edificios. Recoger el planeamiento urbanístico que era vigente y las transformaciones urbanas que se dieron en la zona durante el período de manera que podamos conocer las vinculaciones de las transformaciones urbanísticas con la presencia de estos edificios.
En segundo lugar, estudiar a fondo unos edificios industriales que hasta ahora no han sido objeto de análisis sistemático, con la finalidad de averiguar las claves del momento de cambio que representan dentro de la arquitectura industrial urbana. Al mismo tiempo, que se propone indagar en los referentes arquitectónicos de los que parten. Se trata de edificios altos, normalmente de seis plantas más ático, planteados mayoritariamente a partir de una estructura de pilares de hormigón armado que permiten una fachada ligera. El modelo arquitectónico de alguno de estos edificios entronca con los primeros edificios industriales de hormigón armado construidos en Europa y EEUU a finales del XIX e inicios del XX a los que se mira desde la perspectiva de los años sesenta y setenta. Finalmente se propone, poner en valor un tipo industrial arquitectónico que se ha adaptado perfectamente a la morfología urbana y que confiere una fisonomía muy característica de una zona y un momento concreto en la evolución del patrimonio industrial barcelonés. Muchos de estos edificios siguen en activo pero la situación económica actual conlleva a la paralización de algunas de estas actividades por lo que es importante conocer y valorar el papel que juegan estos edificios para poder afrontar posibles transformaciones. [ENGLISH]This paper focuses on the multi-occupier industrial buildings constructed in the El Poblenou neighbourhood of Barcelona during the 1960s and 1970s (though the construction of some of the buildings stretched into the 1980s). In this period there was a reorganization of industry in the city of Barcelona: heavy industries that were previously located in the area moved to other locations in the metropolitan area and the land released by them was occupied by buildings for a lighter, small and medium-sized industry and for storage. The new industrial buildings were clearly urban in nature and integrated perfectly in the fabric of the city, even in terms of formal continuity.
We find these buildings scattered over a large area of El Poblenou but they are more numerous in the area closest to the centre of Barcelona. In the Special Plan for the Protection of the Historic and Artistic Heritage of the City of Barcelona, District of Sant Martí, this area is known as “Pere IV ponent”.
In our study we aim first to investigate the context in which these buildings emerged. We studied the planning regulations that were in force when these buildings were constructed, and analysed their relationship with urban transformation at the time.
Second, we study in depth some industrial buildings that have so far not been systematically analysed in order to find the keys to this turning point in urban industrial architecture. We also look into the architectural references on which they are based. The buildings are normally tall, with six floors plus an attic, and mostly have a structure of reinforced concrete columns that enables a light façade to be used. The architectural model of some of these buildings is connected with the first reinforced concrete industrial buildings in Europe and the USA dating from the late nineteenth and early twentieth centuries, which are viewed from the perspective of the 1960s and 1970s.
Finally, we highlight the value of an industrial architecture that is perfectly adapted to the urban morphology and that characterizes a specific area and a specific moment in the evolution of Barcelona’s industrial heritage. Though many of these buildings are still in use, the current economic situation has led to the closure of some businesses, so it is important to consider how these buildings can adapt to future changes.Filling in the gaps: new technologies for archaeological reconstructions.http://hdl.handle.net/2117/24977
Filling in the gaps: new technologies for archaeological reconstructions.
Azara Nicolás, Pedro; Marín, Marc; Borrell, Joan; Rusiñol, Eric
2014-12-10T11:11:03ZAzara Nicolás, PedroMarín, MarcBorrell, JoanRusiñol, EricArchitectural style and politics during the catalan fi de seglehttp://hdl.handle.net/2117/24679
Architectural style and politics during the catalan fi de segle
Ramon Graells, Antoni; Cardoso Barreto, Diogo
The purpose of this paper is to analyze the stylistic responses of Catalan fin-de-siècle architecture as an effort to strengthen national identity. This research will focus on the Catalan scenario as a case study for the general perceived condition of international efforts to create national modern styles that represents the local character in a word that suffers the effects of changes in the late modern age. Some examples include: the annex of Scotland to the UK in the 1700’s, the Belgian division between Walloons and Flemings, the newly unified Italy and Germany, the Austro-Hungarian Empire in process of division, and Turkey's modernization process. The names associated with these movements and the criticism they prompted reflects a need to establish a new style, partly based on hybrid mythologies between the popular tradition and romantic creations, on a Wagnerian way. This condition can be seen throughout Belgium and Turkey’s Art Nouveau, Germany’s Jungendstill, the Austro-Hungary Sezession, Italy’s Liberty, Scotland’s Modern Style or Catalonia’s Modernisme.
The investigation’s approach will implement the study of relationships between relevant Catalan architects of the Fi-de-Segle - Antoni Gaudí and Lluís Domènech i Montaner, among others - with the Catalan cultural project. The Catalan expression Fi-de-Segle is adopted here to refer the specific situation in Catalonia, in contrast to the european ambience that the term Fin-de-Siècle represent. The scope of the study will focus on the Ateneo Barcelonés. While not directly related to any official institution of conservative catalanism, like the Catalan League, the Ateneo is a representative sample of the thoughts of Barcelona architects during the period, several of then directly or indirectly linked to the Catalan ideals.
Part of the research methodology for this study will focus on conducting a thorough review of the Ateneo’s records on open sessions of academic courses imparted in the years between 1860 and 1914, all the while looking for clear allusions to the use of architecture and style as a instrument for building Catalan national identity. The founding of the Ateneo in 1860, though it was first named Ateneo Catalan, coincides with several of the discussions that formed the basis of conservative catalanist ideology during the fi-de-segle. More so, the year 1914 coincides with the end of the presidency of the architect Domènech i Montaner in the Ateneo, the Great World War in Europe, and the emergence of a more left-wing political orientation in Catalonia, that ended with the hegemony of conservative catalanism.
Within these records is contained a detailed review of the activities of the institution in the previous academic year - relating to architecture or fine arts - and official documents, such as the speeches given by the presidents elected each year, which serves as an thermometer for reading a general ideology of the Ateneo. Also, program records are available that describe courses, contests and awards granted there. Many works and projects show a distinct relationship with the disciplines of architecture and applied arts, and it is this investigation’s purpose to study these relations and better comprehend how architecture helped shape the Catalan national identity project.
2014-11-11T12:59:46ZRamon Graells, AntoniCardoso Barreto, DiogoThe purpose of this paper is to analyze the stylistic responses of Catalan fin-de-siècle architecture as an effort to strengthen national identity. This research will focus on the Catalan scenario as a case study for the general perceived condition of international efforts to create national modern styles that represents the local character in a word that suffers the effects of changes in the late modern age. Some examples include: the annex of Scotland to the UK in the 1700’s, the Belgian division between Walloons and Flemings, the newly unified Italy and Germany, the Austro-Hungarian Empire in process of division, and Turkey's modernization process. The names associated with these movements and the criticism they prompted reflects a need to establish a new style, partly based on hybrid mythologies between the popular tradition and romantic creations, on a Wagnerian way. This condition can be seen throughout Belgium and Turkey’s Art Nouveau, Germany’s Jungendstill, the Austro-Hungary Sezession, Italy’s Liberty, Scotland’s Modern Style or Catalonia’s Modernisme.
The investigation’s approach will implement the study of relationships between relevant Catalan architects of the Fi-de-Segle - Antoni Gaudí and Lluís Domènech i Montaner, among others - with the Catalan cultural project. The Catalan expression Fi-de-Segle is adopted here to refer the specific situation in Catalonia, in contrast to the european ambience that the term Fin-de-Siècle represent. The scope of the study will focus on the Ateneo Barcelonés. While not directly related to any official institution of conservative catalanism, like the Catalan League, the Ateneo is a representative sample of the thoughts of Barcelona architects during the period, several of then directly or indirectly linked to the Catalan ideals.
Part of the research methodology for this study will focus on conducting a thorough review of the Ateneo’s records on open sessions of academic courses imparted in the years between 1860 and 1914, all the while looking for clear allusions to the use of architecture and style as a instrument for building Catalan national identity. The founding of the Ateneo in 1860, though it was first named Ateneo Catalan, coincides with several of the discussions that formed the basis of conservative catalanist ideology during the fi-de-segle. More so, the year 1914 coincides with the end of the presidency of the architect Domènech i Montaner in the Ateneo, the Great World War in Europe, and the emergence of a more left-wing political orientation in Catalonia, that ended with the hegemony of conservative catalanism.
Within these records is contained a detailed review of the activities of the institution in the previous academic year - relating to architecture or fine arts - and official documents, such as the speeches given by the presidents elected each year, which serves as an thermometer for reading a general ideology of the Ateneo. Also, program records are available that describe courses, contests and awards granted there. Many works and projects show a distinct relationship with the disciplines of architecture and applied arts, and it is this investigation’s purpose to study these relations and better comprehend how architecture helped shape the Catalan national identity project.High & Low: pabellones comerciales para la Exposición Internacional de las Industrias Eléctricas de Barcelona 1929http://hdl.handle.net/2117/24154
High & Low: pabellones comerciales para la Exposición Internacional de las Industrias Eléctricas de Barcelona 1929
García Estévez, Carolina Beatriz
Con la Exposición Internacional de Barcelona del año 1929, la arquitectura catalana del noucentisme legitimaba su programa desde la construcción simbólica del eje principal de la montaña de Montjuic, y a pesar de las muy honrosas excepciones de los pabellones internacionales de Suecia, Yugoslavia, Hungría y Francia, la presencia de la modernidad arquitectónica europea quedaría eclipsada durante muchos años bajo el mito del Pabellón Alemán de Mies van der Rohe.
Sin embargo, al margen del eje monumental ideado por Josep Puig i Cadafalch en 1917 a imagen y semejanza del proyecto Artibus (1880) de Otto Wagner, lo popular emergía lejos de las retórica del poder. Escapaba al control de la geometría axial que colonizaba la geografía de la montaña y encontraba en el Poble Espanyol y el Parque de Atracciones de la Foixarda sus mejores aliados. Fue precisamente en el segundo donde se dieron cita gran parte de las arquitecturas no oficiales de marcas comerciales de industriales catalanes como Eusebi Güell y la familia Jorba. Pabellones que lejos de la presión institucional experimentaban a partir de la mezcla de lenguajes arquitectónicos procedentes de la “alta” cultura arquitectónica francesa -como la Torre Eiffel (1889) o el Pabellón de Turismo (1925) de Robert Mallet Stevens- junto a los elementos “low” propios del mundo popular de masas y su ocio: el simulacro, el espectáculo y el consumo que arrojaban a los visitantes de la ladera sur de Montjuic a otro tipo de ficción artificial.
La presente comunicación se enfrenta a las arquitecturas comerciales que se dieron cita en el Parque de la Foixarda, como la torre de los almacenes JORBA, el pabellón de la compañía general de asfaltos y portland ASLAND, las instalaciones de champagne CODORNIU, el stand de talleres metalúrgicos y fundiciones DAMIANS o el “ready-made” desde la firma comercial del Calcetines MOLFORT'S, intentando desgranar en cada caso si la mezcla “high” and “low” conquistó realmente la modernidad como verdadera expresión de la vida y el tiempo, lejos de los mitos e iconos que supuestamente han alumbrado Montjuic historiográficamente hasta la actualidad.
2014-09-25T07:37:32ZGarcía Estévez, Carolina BeatrizCon la Exposición Internacional de Barcelona del año 1929, la arquitectura catalana del noucentisme legitimaba su programa desde la construcción simbólica del eje principal de la montaña de Montjuic, y a pesar de las muy honrosas excepciones de los pabellones internacionales de Suecia, Yugoslavia, Hungría y Francia, la presencia de la modernidad arquitectónica europea quedaría eclipsada durante muchos años bajo el mito del Pabellón Alemán de Mies van der Rohe.
Sin embargo, al margen del eje monumental ideado por Josep Puig i Cadafalch en 1917 a imagen y semejanza del proyecto Artibus (1880) de Otto Wagner, lo popular emergía lejos de las retórica del poder. Escapaba al control de la geometría axial que colonizaba la geografía de la montaña y encontraba en el Poble Espanyol y el Parque de Atracciones de la Foixarda sus mejores aliados. Fue precisamente en el segundo donde se dieron cita gran parte de las arquitecturas no oficiales de marcas comerciales de industriales catalanes como Eusebi Güell y la familia Jorba. Pabellones que lejos de la presión institucional experimentaban a partir de la mezcla de lenguajes arquitectónicos procedentes de la “alta” cultura arquitectónica francesa -como la Torre Eiffel (1889) o el Pabellón de Turismo (1925) de Robert Mallet Stevens- junto a los elementos “low” propios del mundo popular de masas y su ocio: el simulacro, el espectáculo y el consumo que arrojaban a los visitantes de la ladera sur de Montjuic a otro tipo de ficción artificial.
La presente comunicación se enfrenta a las arquitecturas comerciales que se dieron cita en el Parque de la Foixarda, como la torre de los almacenes JORBA, el pabellón de la compañía general de asfaltos y portland ASLAND, las instalaciones de champagne CODORNIU, el stand de talleres metalúrgicos y fundiciones DAMIANS o el “ready-made” desde la firma comercial del Calcetines MOLFORT'S, intentando desgranar en cada caso si la mezcla “high” and “low” conquistó realmente la modernidad como verdadera expresión de la vida y el tiempo, lejos de los mitos e iconos que supuestamente han alumbrado Montjuic historiográficamente hasta la actualidad.La Formació del modern sistema de mercats de Barcelonahttp://hdl.handle.net/2117/22991
La Formació del modern sistema de mercats de Barcelona
Guàrdia Bassols, Manuel; Oyón Bañales, José Luis
2014-05-14T14:49:42ZGuàrdia Bassols, ManuelOyón Bañales, José LuisLa revolución del agua en Barcelona, 1867-1967http://hdl.handle.net/2117/21664
La revolución del agua en Barcelona, 1867-1967
Guàrdia Bassols, Manuel
2014-02-20T12:06:27ZGuàrdia Bassols, ManuelLos caminos del agua : una investigación-acción desde prácticas de autogestión y usos comunitarios. Instrumentos de cambio de visión sostenibilistahttp://hdl.handle.net/2117/21636
Los caminos del agua : una investigación-acción desde prácticas de autogestión y usos comunitarios. Instrumentos de cambio de visión sostenibilista
Serra Permanyer, Marta; Albareda Fernández, Elena
2014-02-18T15:29:20ZSerra Permanyer, MartaAlbareda Fernández, ElenaBarcelona : instrucciones de uso (1839-1912) : el imaginario de la ciudad moderna en las guías turísticashttp://hdl.handle.net/2117/21407
Barcelona : instrucciones de uso (1839-1912) : el imaginario de la ciudad moderna en las guías turísticas
Rodríguez Pedret, Carmen
Understanding the urban development of the industrial city means to have in mind a specific narrative that evokes and captures the multifaceted metropolitan scenario. The depiction of the city in the guidebooks is the finest encounter between words and spaces; it’s an essential witness for the analysis of the different social, economic and cultural factors that give meaning and relevance to urban shape -especially for understanding the relationship between these processes and the transformations of the territory over time.The spread of guidebooks in the mid-nineteenth century is a symptom of visual and narrative excitement focused in the metropolis as an object of large-scale exhibition. Specifically in Barcelona, the commercial possibilities of this narrative increased since the second half of the century and developed itself at the same time as the definition of a specific imaginary for the modern city was taking shape. This background determines the boundaries of this study (1839-1912), which follows the path of a series of city guides and its fitting in the essential period of modernization of Barcelona. The way these works are closely related to the emergence of the new metropolitan scenery raises them to the grade of city's founding narrative.
2014-01-30T14:33:21ZRodríguez Pedret, CarmenUnderstanding the urban development of the industrial city means to have in mind a specific narrative that evokes and captures the multifaceted metropolitan scenario. The depiction of the city in the guidebooks is the finest encounter between words and spaces; it’s an essential witness for the analysis of the different social, economic and cultural factors that give meaning and relevance to urban shape -especially for understanding the relationship between these processes and the transformations of the territory over time.The spread of guidebooks in the mid-nineteenth century is a symptom of visual and narrative excitement focused in the metropolis as an object of large-scale exhibition. Specifically in Barcelona, the commercial possibilities of this narrative increased since the second half of the century and developed itself at the same time as the definition of a specific imaginary for the modern city was taking shape. This background determines the boundaries of this study (1839-1912), which follows the path of a series of city guides and its fitting in the essential period of modernization of Barcelona. The way these works are closely related to the emergence of the new metropolitan scenery raises them to the grade of city's founding narrative.